Hirshhorn Plaza

In the avant-garde classic Wavelength, 1967, by Michael Snow (Canadian, b. Toronto, 1929), the camera itself becomes the lens through which the artist examines the essence of cinema: illusion and fact, space and time, subject and object. Along with Paul Sharits’s Shutter Interface, 1975, purchased in 2009, these five acquisitions anchor the Hirshhorn’s collection of the most important experimental films of the twentieth century.